Page 287 - Contribution To Phenomenology
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280                     JAMES   G.  HART

                     III.  JReUgionswissenschqft  and  Phenomenological  Theology

              And  this  raises  the  question  of  what  provides  the  experiential  material
              for  "pure  theology/*^^  for  the  true  doctrine  of  God  and  study  of  religion.
              And  how  are  these  to  be  related  to  facticity?  Husserl  makes  this
              proposal:  If  I  want  to  judge  the  factual  state  of  the  world  in  ethical  and
              aesthetic  contexts  then  I  need  acquaintance  with  the  pure  norms  in  order
              to  judge  with  a  sober  criticism  the  degree  of  approximation.  The
              implication  seems  to  be  that  any  source  whatsoever,  e.g.,  even  fictional
              Uterature,  that  is  uplifting  and  edifying  through  its  disclosure  of  core
              values  and  ideals,  that  source  may  be  regarded  as  the  material  basis  for
              "pure  theology"  or  the  essential  study  of  religion  because  it  enables  the
              intuition  of  core  values.
                This  parallels  his  theory  of  "idealist  art."  For  Husserl  the  artist  can
              assume  the  role  of  a  seer  and  a  prophet.  All  art  is  joy  in  the  seen  in
             concreto, in  its  appearing  as  such,  but  it  is  not  thereby  "kallistic,"  i.e.,  it
              is  not  thereby  idealistic  and  normative.  In  such  idealistic  poetizing  the
             artist  does  not  merely  look  upon  facts  and  types  of  the  empirical  world
             and  regions  of  life;  nor  does  he  present  ideals  as  typical  facts  or
             empirical  types. Rather  the  artist  is  normatively  engaged  with  the  struggle
             of  good  and  evil  and  he  aspires  to  inflame  the  love  of  the  good  in  our
             souls  without  moralizing  or  preaching.  He  enables  the  typical  values  of
             life  to  be  transfigured  through  beauty  and  thereby  raises  the  souls  to  the
             divinity. The  artist  here  takes  on  the  role  of  the  metaphysician  in  that  he
             raises  the  spectator  to,  and  unites  him  with,  the  idea  of  the  Good,  the
             Godhead,  the  deepest  ground  of  the  world,  through  the  medium  of  the
             beautifiil  (Hua  XXIII,  541-542).
                In  conjunction  with  this  extension  of  the  experiential  basis  of  "pure
             theology"  to  include  other  sources  than  the  typical  traditional  sources  of
             revelation,  Husserl  makes  a  case  for  an  enlargement  of  our  appreciation
             for  the  realm  of  intuition. And  then  he  urges,  echoing  his  letter  to  Otto,
             that  perhaps  all  attempts  at  articulating  religious  phenomena  fail  because
             religious  intuition  presupposes  the  most  universal  intuition  of  absolute
             phenomena  or  givens which  transcendental phenomenology uncovers. And




                  ^"^  I  take  "pure  theology"  here  (Hua  XXVII,  102)  to  be  one  which  can  grasp
             the  essential  features  of  religious  matters  through  eidetic  analysis  and  purified  of  the
             irrational  contingencies  of  historical  religions.  See  the  discussion  of  the  Dilthey
             correspondence  in  n.  5.
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